It's that judgment that I'm interested in. I go back and forth as well. The best "spreadsheet" fit often involves a fairly radical shortening of the speaking lengths such that the original designs that employed that modified the strike point with a new agraffe line. I'm not interested in doing that and so have kept my own modifications of the speaking lengths more conservative although that tends to cause a drop in the inharmonicity curve and an increase in the BP% farther than I would normally go. Spreadsheet also don't always necessarily make for perfect tonal transitions for reasons unknown to me, even though they are certainly better than the precipitous tension drop offs characteristic of the original. Are you totally satisfied with the tonal characteristics of the transitions and, if not, how would you characterize the tonal differences that you experience across those breaks (difficult to answer I know). David Love www.davidlovepianos.com -----Original Message----- From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf Of Ron Nossaman Sent: Tuesday, May 26, 2009 9:44 AM To: pianotech at ptg.org Subject: Re: [pianotech] Steinway A Bass String Rescaling David Love wrote: > The discussion I would like to see is an analysis of various types of > transition bridges especially with respect to jumps in inharmonicity that > can happen and how much of a jump can be tolerated without creating real > tuning problems. It's been my experience that when you get to make your own bridges and string scale, you can get smooth transitions in tension, Z, and inharmonicity all at once. This is at the expense of break% transitions. I don't know how anyone else does it, but I go back and forth between piano and spreadsheet until I get something that works on paper, will physically fit in the piano, and is in my judgment most likely to work tonally. Ron N
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